He was Kappelmeister in three cities. He was extremely prolific, writing keyboard, chamber, opera, and sacred music. Student of Mozart and contemporary of Beethoven, he is sort of lost in the annals of music history.

Hello there, thanks for reading my blog!Your site is very interesting. I'm afraid I'm a total dunce when it comes to "classical" music. I'm trying to "de-dunce" myself though. Since my fiance doesn't speak the local language we had to give up on going to the theater and bought the season tickets for the philharmonic instead. I'm enjoying it so far but can only describe the music as "pretty" or "melancholic". A dunce, I told you.

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The task of the music critic is difficult, far beyond mere description and assessment. Yet, when those fail, the rest fails. As the public’s first line of reception and dissemination, critics have a double responsibility, to both the public and to the musical community at large. The deleterious effects of mischaracterization and prejudice (or laziness) contribute to a “classical” stereotype that is wholly incongruent with the reasons we continue to believe in and love the music we love. To seek correction is only natural.

We understand that the role of today’s critic is rapidly changing. Through humor and snark, we seek to provide a dialog, at once humbling, amusing and inviting, out of which may emerge positive critical perspectives and alliances that can benefit the health of our beloved musical climate.

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